Giorgio Griffa is one of the most radical Italian painters of the 1960's/70's. Connected to the movement of Analytical Painting, he retraces the conceptual reflection of art on art to a specific research on the primary elements used in painting: support, color, and sign. His paintings are mostly conceived in serial seqences like test arrangements in which he experiments with the obliteration of the artist's hand.
The abstract sculptures of Alicja Kwade and Tatiana Trouvé are deeply rooted in simular minimalistic-conceptual ideas. The artists question the norms and models of everyday life with simple means and a nearly scientific precision. For Alicja Kwade and Tatiana Trouvé the process of artistic creation, the reflection on the employed material, as well as on the relationship between sculpture, space and viewer are of fundamental importance.
Alicja Kwade, Tatiana Trouvé and Giorgio Griffa represent different contexts and work with different media. Nontheless they share an interest in materiality, repetition, formal dispossession as well as in the refusal of geometric rigor. Their formal language is reduced to the elementary proving at the same time a strong consciousness for the presence. The complexity of their works hides behind a formal simplicity, and questions the categories of classic and avantgarde.
The interplay of conceptual painting placed on the wall, and abstract sculpture placed in the space will create a dialogue finding its expression in a specific aesthetics and a strong visual impact.